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1

Doświadczenie sacrum i jego poetyckie formy w twórczości Bohuslava Reynka

100%

Gierowski P.

Pamiętnik Słowiański

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2012

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vol. 62

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issue 1-2

77-100

EN

The paper concerns the problem of sanctity in the poetry and graphic art of Bohuslav Reynek. The main aim of the author is to show how the sacred realm is present in the Reynek’s construction of literary motifs. In conclusion it is stated that most of them have auratic character (term of Walter Benjamin). Another problem described in the paper is the function of motifs of color and light in Reynek’s output which are in general a metaphor of sanctity. Thirdly, the author focuses on the euphonic aspect of Reynek’s poetry which is also strongly related to the aura of sanctity. Finally, the paper ends with a description of the antithetic and paradoxical character of Reynek’s poetic world.

2

"Vše se modlí u mne..." : litanické formy v díle Bohuslava Reynka

89%

Gorczyńská M.

Česká literatura (Czech Literature)

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2019

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vol. 67

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issue 1

3-31

EN

This text presents the development of litanical stylizations in the work of Bohuslav Reynek (1892–1971), from his Žízně (Thirsts, 1921) collection to his posthumously published Odlet vlaštovek (Departure of the Swallows, 1980) collection. The author follows the process involved in the interiorization of litany, which is manifested in ongoing abandonment of the external signs of litanical form (or its conventionalized literary attributes), while the connection with the ideational basis of the genre remains preserved. Despite his initial dependence on French models (e.g. Paul Claudel and Charles Péguy — and a significant role was also played here by Reynek’s translation experience) and particular sources of inspiration at home (Jakub Deml), the poet quite quickly found his independence (evidence of which includes Reynek’s “unlitanic” translations of Georg Trakl). With his stylizations, Reynek continually experimented, adding various forms to his litanies in verse, verset or prose, while an important role was also played by his technique of apposition, which he elaborated when he was writing his collection Smutek Země (Earth’s Grief, 1924). These changes also affected the emotional tone of individual texts (e.g. one prominent trend was his shift from ‘bright’ moods to ‘dark’ ones) or the construction of an object-addressee litany (only the first works of this kind have a strictly prayer-like character). A detailed analysis of these changes enables us to focus on the continuity of the entire process and thus to find a certain ongoing originality in the variety of litanic forms in Reynek’s work.

3

Bohuslav Reynek — samotář z Petrkova

63%

Martinek L.

Slavica Wratislaviensia

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2015

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vol. 160

85 - 93

EN

The article’s aim is to present as well as life and characterize works by aChristian poet Bohuslav Reynek. It also discusses the perception of Reynek’s poetry and its translation into other languages, especially Polish. During the poet’s life the following volumes of poetry were published: Žízně, Sníh na zápraží, Mráz v okně, Podzimní motýli and Odlet vlaštovek. Apart from his own writing, he also translated from the French and German. Reynek together with his wife Susanne Renaud has gained in popularity recently, an association has even been launched whose mission is to retrieve the memory about both artists. Bohuslav Reynek’s works are among the most often interpreted in the Czech circles of music artists, beside e.g. Jan Skácel. The author of the article has been dealing with Reynekʼs oeuvre since 1992, when he published an article on banned and forgotten writers in the Region journal. Although Bohuslav Reynek passed away in 1971, we can posit that he is an immortal poet.

4

Poetika smrti v raném díle Bohuslava Reynka

63%

Martinek L.

Slavica Wratislaviensia

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2019

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vol. 168

289-301

EN

Poetics of death in the early work of Bohuslav Reynek This article is dedicated to the poetics of death in the early works of the Czech poet, translator and graphic artist Bohuslav Reynek (1892–1971). The author focuses his attention on the topos of death, which is the overarching theme that encloses other important motives associated with it and described by the author as “intermotives”. Typical of the whole first volume of Reynek’s poetry is the combination of the natural world with the vision of a Christian order, which at the end of human life tends toward an apocalyptic end of the earth and confrontation with the salvation of Jesus Christ.

PL

Poetyka śmierci we wczesnej twórczości Bohuslava Reynka Artykuł poświęcony jest poetyce śmierci we wczesnych dziełach czeskiego poety, tłumacza i grafika Bohuslava Reynka (1892–1971). Autor tekstu skupia swoją uwagę na toposie śmierci, na który składają się ważne motywy z nim związane, nazwane przez niego intermotywami. Dla całego pierwszego tomu poezji Reynka typowe jest połączenie świata natury z wizją chrześcijańskiego porządku, w którym kres ziemi i ludzkiego życia w konfrontacji z dziełem zbawienia Jezusa Chrystusa zmierza ku apokalipsie.

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2 Slavica Wratislaviensia

1 Pamiętnik Słowiański

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2 Martinek L.

1 Gierowski P.

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Doświadczenie sacrum i jego poetyckie formy w twórczości Bohuslava Reynka

"Vše se modlí u mne..." : litanické formy v díle Bohuslava Reynka

Bohuslav Reynek — samotář z Petrkova

Poetika smrti v raném díle Bohuslava Reynka